I.E v Bath Uni (was:Re: mod anyone ?)

Date	1999-10-07 16:31
From	Richard Dobson
Subject	I.E v Bath Uni (was:Re: mod anyone ?)
	FWIW, although Netscape is effectively locked out, I have found that using Internet Explorer (v.5; I am running Windows2000) I can sucessfully step through the ftp...dream directories and download files. You have to right-click on the file, and then select 'copy to folder'. Drag+drop also seems to work. Double-clicking to access a file does not work. So presumably the methods that are working cause I.E to appear more like a classic ftp client. So, despite their best efforts, the powers that be have not managed to lock out Microsoft entirely. Should we be worried? Richard Dobson Varga István wrote: > > Netscape and IE cannot connect to the bath server, while I am able to > download files using FAR manager, or other ftp client programs -- Test your DAW with my Soundcard Attrition Page! http://wkweb5.cableinet.co.uk/rwd (LU: 17th September 1999) CDP: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm (LU: 14th June 1999) Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23072; 7 Oct 99 18:12 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZG8N-0001Bv-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 17:11:11 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (SAA06719); Thu, 7 Oct 1999 18:03:46 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 18:03:35 +0100 Received: from ha1.rdc3.on.home.com [24.2.9.68] by hermes via ESMTP (SAA06639); Thu, 7 Oct 1999 18:03:29 +0100 (BST) Received: from home.com ([24.114.22.40]) by mail.rdc3.on.home.com (InterMail v4.01.01.02 201-229-111-106) with ESMTP id <19991007170144.CJGJ18193.mail.rdc3.on.home.com@home.com> for ; Thu, 7 Oct 1999 10:01:44 -0700 Message-ID: <37FCE0CB.969F5AF7@home.com> Date: Thu, 07 Oct 1999 13:06:14 -0500 From: Stan Olejarz X-Mailer: Mozilla 4.61 (Macintosh; I; PPC) X-Accept-Language: en MIME-Version: 1.0 To: csound@maths.ex.ac.uk Subject: designing an instrument Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Just curious as to what creative procedure is best used to create an instrument? Would one (a)- create the timbre of the instrument first, and if so how would one go about this? Would your instrument be focused around fuunction statements or sound generators such as foscil, buzz, etc.? Any insight would be gratefully appreciated Stan Olejarz Toronto,Canada Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23336; 7 Oct 99 19:46 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZIYG-0003nO-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 19:46:04 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (TAA19225); Thu, 7 Oct 1999 19:33:22 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 19:33:06 +0100 Received: from law2-f165.hotmail.com [216.32.181.165] by hermes via SMTP (TAA18974); Thu, 7 Oct 1999 19:32:55 +0100 (BST) Received: (qmail 87016 invoked by uid 0); 7 Oct 1999 18:32:23 -0000 Message-ID: <19991007183223.87015.qmail@hotmail.com> Received: from 128.227.73.125 by www.hotmail.com with HTTP; Thu, 07 Oct 1999 11:32:23 PDT X-Originating-IP: [128.227.73.125] From: Thomas Judson To: csound@maths.ex.ac.uk Subject: Help with F statements Date: Thu, 07 Oct 1999 14:32:23 EDT Mime-Version: 1.0 Content-Type: text/plain; format=flowed Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Hi everyone, My name is Thomas Judson and I'm new to Csound. I was wondering where would be a good place to look for help designing f tabels and wave shapes. Right now I'm working on the Chowning Instruments (coverting from flowchart) and I'm having a hard time figuring out how to design my tables to make the proper sound. Some people have told me the f statements to use, but I would perfer to figure it out on my own so that I may later design my own instruments without worrying about the wave table. Any help would be welcome. Thanx, Tohm Judson ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23531; 7 Oct 99 21:25 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZJ8q-0001L9-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 20:23:52 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (VAA25861); Thu, 7 Oct 1999 21:11:19 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 21:11:01 +0100 Received: from agora.stm.it [195.62.32.1] by hermes via ESMTP (VAA25804); Thu, 7 Oct 1999 21:10:49 +0100 (BST) Received: from agora.stm.it (rm2-658.tiscalinet.it [212.123.84.150]) by agora.stm.it (8.9.2/8.8.5) with ESMTP id WAA09274 for ; Thu, 7 Oct 1999 22:10:49 +0200 (ITADST) Message-ID: <37FCAFFA.E994BFA0@agora.stm.it> Date: Thu, 07 Oct 1999 16:36:42 +0200 From: Gabriel Maldonado X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en MIME-Version: 1.0 To: Csound Mailing List Subject: Re: [mpoirier@virtu.sar.usf.edu: 2 real-time Csound questions] References: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk I suggest you to use DirectCsound, if you are using Windows 95/98. With DirectCsound it is possible to have real-time sound output during instrument rendering & have that sound written to a file at the same time (see documentation). Another way to do this is to use the fout opcode (see manual). The controller opcodes are ctrl7 (see manual). initc7 only initializes its value. -- Gabriel Maldonado http://web.tiscalinet.it/G-Maldonado jpff@maths.bath.ac.uk wrote: > > ------- Start of forwarded message ------- > Date: Wed, 06 Oct 1999 21:02:53 -0400 > From: Marc 3 Poirier > Subject: 2 real-time Csound questions > > Hello. I am a novice at real-time Csound & have a couple of questions: > > 1) Is it possible to have real-time sound output during instrument > rendering & have that sound written to a file at the same time? > 2) I want to use two controllers on my MIDI keyboard as my realtime > inputs. What exactly do I have to do to do this? I have included these > controller initializing statements in my ORC file (although I don't know > whether they are necessary): > > initc7 imidchan, imodwheel, 0 > initc7 imidchan, ivolume, 0 > > (In my ORC file, "imidchan" = 1, "imodwheel" = 1, & "ivolume" = 7.) I also > included the -M flag in the command line when compiling in Consound. After > it, I put "sbmidi" because the Csound help file says: > > - -M dnam read MIDI realtime events from device 'dnam' (must be sbmidi) > > Csound crashes every time I run this instrument. When I render it in > Winsound, there is a box for "MIDI Device" in the "Additional Arguements" > window, but there are no options in the box, so I don't pick anything. > Winsound crashes every time, too. What am I doing wrong? Do I need to do > anything else? I use the latest versions of Winsound & Consound on Windows > 98 & I use a Turtlebeach Pinnacle soundcard for my MIDI port. > > Thank you, > Marc Poirier > ------- End of forwarded message ------- Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23623; 7 Oct 99 21:52 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZKWZ-0003si-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 21:52:27 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (VAA27558); Thu, 7 Oct 1999 21:44:03 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 21:43:52 +0100 Received: from exim@wallace.maths.bath.ac.uk [138.38.100.104] by hermes via ESMTP (VAA27718); Thu, 7 Oct 1999 21:43:42 +0100 (BST) Received: from [138.38.99.25] (helo=maths.Bath.AC.UK ident=mmdf) by wallace.maths.bath.ac.uk with smtp (Exim 2.12 #1) id 11ZJQI-0001LZ-00 for csound@maths.ex.ac.uk; Thu, 7 Oct 1999 20:41:54 +0100 Date: Thu, 7 Oct 99 21:43:41 BST From: J P Fitch To: csound@maths.ex.ac.uk Subject: From Richard Boulanger Message-Id: Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk ----- Forwarded message # 1: Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23172; 7 Oct 99 18:55 BST Received: from [209.6.58.1] (helo=library.berklee.edu) by wallace.maths.bath.ac.uk with smtp (Exim 2.12 #1) id 11ZGnh-0001Co-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 17:53:53 +0100 Received: from mailtest.berklee.edu by library.berklee.edu via smtpd (for wallace.maths.bath.ac.uk [138.38.100.104]) with SMTP; 7 Oct 1999 17:52:34 UT Received: from berkntfirewall.berklee.edu ([172.16.7.91]) by mail.berklee.edu (Netscape Messaging Server 3.6) with SMTP id AAA56BA for ; Thu, 7 Oct 1999 13:53:18 -0400 Received: from [172.16.7.91] by berkntfirewall.berklee.edu via smtpd (for mailtest.berklee.edu [172.17.3.7]) with SMTP; 7 Oct 1999 17:52:30 UT Message-Id: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To: jpff@maths.bath.ac.uk From: "Dr. Richard Boulanger" Subject: Please post this message for me to the list Date: Thu, 7 Oct 1999 13:53:18 -0400 Dear Csound, I will have details and news on The Csound Book and a number of exciting new Csound initiatives that I have been negotiating with MIT Press in the next week - including a 4 CD Series "The Csound Masters" and Csound Composition and Instrument Design Contests. I am preparing to burn the CD-ROM master and would like to include the instruments that have been submitted to the Csound Mailing List over the past few years... at least all those that I could get to run. Over the past 2 years, I have hired students to clean up and organize all of the Csound instruments into a consistant format (there are 2000 others that I have collected as well), but they lost track of the email addresses and names of the authors of these following 100 instruments. (Actually some of them are mine! But I can't remember them at this stage either.) What I am hoping is that you will download either the .sit or .zip version of the "various" folder below and see if you recognize the designs.... There is, in fact a really lovely composition in this group and I would especially like to know the author of this. Can you check it out and get back to me in a week? Also, if you do not want your designs included on the cd-rom, please let me know. But rest assured, that everyone involved in The Csound Book project holds the copyright to their compositions and instrument designs. More news very soon. Thanks for your help... http://mitpress.mit.edu/e-books/csound/fpage/instr/Various.sit http://mitpress.mit.edu/e-books/csound/fpage/instr/Various.zip Dr. Richard Boulanger editor The Csound Book!!!! _____________________________________________________________ Dr. Richard Boulanger Professor - Music Synthesis Department Berklee College of Music 1140 Boylston Street - Boston, MA 02215-3693 Office Phone: (617) 747-2485 Office Fax: (617) 536-2257 Email: radiobaton@earthlink.net OR rboulanger@berklee.edu _____________________________________________________________ Personal Webpage: http://home.earthlink.net/~radiobaton/ Everything Csound: http://www.csound.org _____________________________________________________________ ----- End of forwarded messages Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23665; 7 Oct 99 22:08 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZJnu-0001Me-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 21:06:18 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (WAA21612); Thu, 7 Oct 1999 22:01:56 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 22:01:40 +0100 Received: from agora.stm.it [195.62.32.1] by hermes via ESMTP (WAA28200); Thu, 7 Oct 1999 22:01:34 +0100 (BST) Received: from agora.stm.it (rm2-658.tiscalinet.it [212.123.84.150]) by agora.stm.it (8.9.2/8.8.5) with ESMTP id XAA19167 for ; Thu, 7 Oct 1999 23:01:30 +0200 (ITADST) Message-ID: <37FD0C40.D820EC9F@agora.stm.it> Date: Thu, 07 Oct 1999 23:10:24 +0200 From: Gabriel Maldonado X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en MIME-Version: 1.0 To: Csound Mailing List Subject: [ANNOUNCE] DirectCsound 3.0 (beta) available Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Hi all, DirectCsound 3.0 is available for download on my site: http://web.tiscalinet.it/G-Maldonado It involves the following features: 1) Windows DirectSoundCapture support (-+C flag). Low latency audio input (for those audio cards that support it in native mode). 2) Windows DirectSound support of secondary buffers (-+S flag. This makes DirectCsound compatible with more Windows platforms). 3) Support realtime three-dimensional audio (surround audio with some audio cards): Microsoft's DirectSound3D and Creative's EAX 2.0 4) Windows DirectSound3D support. New opcodes: Init3dAudio, Out3d, DsListenerPosition, DsListenerOrientation, DsListenerRolloffFactor, DsListenerDistanceFactor, DsListenerSetAll, DsMode, DsPosition, DsMinDistance, DsMaxDistance, DsConeAngles, DsConeOrientation, DsConeOutsideVolume, DsSetAll, DsEaxSetDeferredFlag, DsCommitDeferredSettings. 5) Creative's EAX 2.0 support: New opocodes: EaxListenerEnvironment, EaxListenerEnvSize, EaxListenerEnvDiffusion, EaxListenerRoom, EaxListenerRoomHF, EaxListenerDecayTime, EaxListenerDecayTimeHfRatio, EaxListenerReflections, EaxListenerReflectionsDelay, EaxListenerReverb, EaxListenerReverbDelay, EaxListenerRoomRolloff, EaxListenerAirAbsorption, EaxListenerFlags, EaxListenerAll, EaxSourceDirect, EaxSourceDirectHF, EaxSourceRoom, EaxSourceRoomHF, EaxSourceObstruction, EaxSourceObstructionRatio, EaxSourceOcclusion, EaxSourceOcclusionRatio, EaxSourceOcclusionRoomRatio, EaxSourceRoomRolloff, EaxSourceAirAbsorption, EaxSourceOutsideVolumeHF, EaxSourceFlags, EaxsourceAll 6) Termination action in response of a MIDI 0xF5 message (which at present time is not used for any other purpose). So to terminate a realtime session of DirectCsound is sufficient to send a 0xF5 byte via MIDI. This help with shells, and makes useless to focus Csound console and to press Ctrl-C. VMCI Plus 2.01 supports this feature. -- Gabriel Maldonado http://web.tiscalinet.it/G-Maldonado Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa23891; 7 Oct 99 23:52 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZMOx-0003tu-00 for jpff@maths.bath.ac.uk; Thu, 7 Oct 1999 23:52:43 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (XAA34380); Thu, 7 Oct 1999 23:46:47 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Thu, 7 Oct 1999 23:46:31 +0100 Received: from smtp5.jps.net [209.63.224.55] by hermes via ESMTP (XAA33727); Thu, 7 Oct 1999 23:46:25 +0100 (BST) Received: from HML (216-224-143-89.stk.jps.net [216.224.143.89]) by smtp5.jps.net (8.9.3/8.9.0) with SMTP id PAA08003 for ; Thu, 7 Oct 1999 15:46:20 -0700 (PDT) Message-ID: <000a01bf1116$299a6440$598fe0d8@HML> From: Nunativs To: Csound Mailing List Subject: Re: [ANNOUNCE] DirectCsound 3.0 (beta) available Date: Thu, 7 Oct 1999 15:48:54 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 4.72.3110.5 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Gabriel, Just when I was starting to get into Linux........., no support for Soundblaster Live! -----Original Message----- From: Gabriel Maldonado To: Csound Mailing List Date: Thursday, October 07, 1999 2:03 PM Subject: [ANNOUNCE] DirectCsound 3.0 (beta) available >Hi all, >DirectCsound 3.0 is available for download on my site: > >http://web.tiscalinet.it/G-Maldonado > >It involves the following features: > >1) Windows DirectSoundCapture support (-+C flag). Low latency audio >input (for those audio cards that support it in native mode). > >2) Windows DirectSound support of secondary buffers (-+S flag. This >makes DirectCsound compatible with more Windows platforms). > >3) Support realtime three-dimensional audio (surround audio with some >audio cards): Microsoft's DirectSound3D and Creative's EAX 2.0 > >4) Windows DirectSound3D support. New opcodes: Init3dAudio, Out3d, >DsListenerPosition, DsListenerOrientation, DsListenerRolloffFactor, >DsListenerDistanceFactor, DsListenerSetAll, DsMode, DsPosition, >DsMinDistance, DsMaxDistance, DsConeAngles, DsConeOrientation, >DsConeOutsideVolume, DsSetAll, DsEaxSetDeferredFlag, >DsCommitDeferredSettings. > >5) Creative's EAX 2.0 support: New opocodes: EaxListenerEnvironment, >EaxListenerEnvSize, EaxListenerEnvDiffusion, EaxListenerRoom, >EaxListenerRoomHF, EaxListenerDecayTime, EaxListenerDecayTimeHfRatio, >EaxListenerReflections, EaxListenerReflectionsDelay, EaxListenerReverb, >EaxListenerReverbDelay, EaxListenerRoomRolloff, >EaxListenerAirAbsorption, EaxListenerFlags, EaxListenerAll, >EaxSourceDirect, EaxSourceDirectHF, EaxSourceRoom, EaxSourceRoomHF, >EaxSourceObstruction, EaxSourceObstructionRatio, EaxSourceOcclusion, >EaxSourceOcclusionRatio, EaxSourceOcclusionRoomRatio, >EaxSourceRoomRolloff, EaxSourceAirAbsorption, EaxSourceOutsideVolumeHF, >EaxSourceFlags, EaxsourceAll > >6) Termination action in response of a MIDI 0xF5 message (which at >present time is not used for any other purpose). So to terminate a >realtime session of DirectCsound is sufficient to send a 0xF5 byte via >MIDI. This help with shells, and makes useless to focus Csound console >and to press Ctrl-C. VMCI Plus 2.01 supports this feature. > >-- >Gabriel Maldonado > >http://web.tiscalinet.it/G-Maldonado > > Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa24182; 8 Oct 99 2:49 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZOBx-0001Rh-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 01:47:25 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (CAA40616); Fri, 8 Oct 1999 02:40:13 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 02:39:57 +0100 Received: from smtp10.atl.mindspring.net [207.69.200.246] by hermes via ESMTP (CAA40752); Fri, 8 Oct 1999 02:39:46 +0100 (BST) Received: from Realizer (user-2ive30o.dialup.mindspring.com [165.247.12.24]) by smtp10.atl.mindspring.net (8.8.5/8.8.5) with SMTP id VAA29121; Thu, 7 Oct 1999 21:39:36 -0400 (EDT) From: Michael Gogins To: Stan Olejarz , csound@maths.ex.ac.uk MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos Subject: RE: designing an instrument Date: Thu, 7 Oct 1999 21:42:48 -0400 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook IMO, Build 9.0.2416 (9.0.2910.0) X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 In-Reply-To: <37FCE0CB.969F5AF7@home.com> Importance: Normal Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Use the Amsterdam Catalogue of Csound Computer Instruments and listen to examples while looking at their code. Then try changing some parameters. Not many people can imagine a timbre and then know how to code it - usually you hear an instrument that sounds cool and adapt the code. Risset's original instruments are now in their 4th or 5th generation of adapation. The fact is, there aren't that many musically interesting algorithms: filtered noise, 3 or 4 kinds of frequency modulation, stacked and/or detuned additive synthesis, sampling, plucked and filtered string and waveguide models, linear predictive coding, the phase vocoder. The Amsterdam book and Hans Mikkelson's web site will get you through all of them. They are in all the commercial synthesizers and samplers as well as in Csound. But filtering, using 2 or more slightly different and/or detuned copies of an algorithm ("chorusing"), reverberating, different FM ratios and indices, and a little delayed feedback here and there, can create startlingly many variations on these themes. If you have Generator or Reaktor by Native Instruments, a Windows software synthesizer, it gives you a building block and wiring diagram user interface with which you can build and vary algorithms with all the same basic opcodes but in a more intuitive way. It has a free downloadable demo. Syd will do the same thing less fancily but is completely free for both Mac and Windows. Once you play with these instruments, you can use Csound to really go to town; I have frequently been able to get Csound to sound better than its "easier to use" competition but it takes a lot of refinement of algorithms, writing float soundfiles, and using 1 control sample for each audio sample. -----Original Message----- From: owner-csound-outgoing@maths.ex.ac.uk [mailto:owner-csound-outgoing@maths.ex.ac.uk]On Behalf Of Stan Olejarz Sent: Thursday, October 07, 1999 2:06 PM To: csound@maths.ex.ac.uk Subject: designing an instrument Just curious as to what creative procedure is best used to create an instrument? Would one (a)- create the timbre of the instrument first, and if so how would one go about this? Would your instrument be focused around fuunction statements or sound generators such as foscil, buzz, etc.? Any insight would be gratefully appreciated Stan Olejarz Toronto,Canada Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa24719; 8 Oct 99 7:28 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZTVY-00044T-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 07:28:00 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (HAA47213); Fri, 8 Oct 1999 07:24:59 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 07:28:47 +0100 Received: from root@ulster.net [208.148.73.65] by hermes via ESMTP (HAA48447); Fri, 8 Oct 1999 07:28:46 +0100 (BST) Received: from ulster.net (port196.ts2.ulster.net [208.242.164.196]) by nerf.ulster.net (8.9.3/8.9.3/Debian/GNU) with ESMTP id CAA24598 for ; Fri, 8 Oct 1999 02:25:56 -0400 Message-ID: <37FD9004.DD3F52E6@ulster.net> Date: Fri, 08 Oct 1999 02:32:36 -0400 From: Paul Winkler X-Mailer: Mozilla 4.61 [en] (X11; U; Linux 2.0.36 i686) X-Accept-Language: en MIME-Version: 1.0 To: csound@maths.ex.ac.uk Subject: Re: [mpoirier@virtu.sar.usf.edu: 2 real-time Csound questions] References: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk I don't know about your second question, but as to the first: > From: Marc 3 Poirier > Subject: 2 real-time Csound questions > > 1) Is it possible to have real-time sound output during instrument > rendering & have that sound written to a file at the same time? I just started playing with this using the soundout opcode. It works. The current limitation seems to be that you can only write single-channel files, so you have to use 2 soundout statements to separate files if you want stereo. Also, you can only save "raw" (un-headered) files. Combine the files later in a sound editor or something. Quick example: instr 1 ; Save realtime input to a file, silently adummy init 0 a1, a2 ins soundout a1, "left", 4 ; works, but cannot make headered ; files. ; Note also that "soundouts" is NOT working yet. ; so we can only do mono. soundout a2, "right", 4 outs adummy, adummy ; change this to a1, a2 if you want to hear ; realtime output endin I just noticed G. Maldonado's "fout" family of opcodes which seem to do the same thing with much more flexibility, including writing .wav files. They are included in very recent versions (not 3.54 which I have.) ---PW Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa24740; 8 Oct 99 7:46 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZTnG-00044e-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 07:46:18 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (HAA45411); Fri, 8 Oct 1999 07:44:08 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 07:43:58 +0100 Received: from root@ulster.net [208.148.73.65] by hermes via ESMTP (HAA48966); Fri, 8 Oct 1999 07:43:57 +0100 (BST) Received: from ulster.net (port196.ts2.ulster.net [208.242.164.196]) by nerf.ulster.net (8.9.3/8.9.3/Debian/GNU) with ESMTP id CAA25619; Fri, 8 Oct 1999 02:45:21 -0400 Message-ID: <37FD948D.10C9CF0B@ulster.net> Date: Fri, 08 Oct 1999 02:51:57 -0400 From: Paul Winkler X-Mailer: Mozilla 4.61 [en] (X11; U; Linux 2.0.36 i686) X-Accept-Language: en MIME-Version: 1.0 To: Stan Olejarz CC: csound@maths.ex.ac.uk Subject: Re: designing an instrument References: <37FCE0CB.969F5AF7@home.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Stan Olejarz wrote: > > Just curious as to what creative procedure is best used to create an > instrument? Would one (a)- create the timbre of the instrument first, > and if so how would one go about this? Would your instrument be focused > around fuunction statements or sound generators such as foscil, buzz, > etc.? Well, since I'm currently struggling with an instrument that's stubbornly not quite doing what I want, I've been thinking about this today. I find it hard to keep track of what I've already tried, what didn't work, etc. The method I'm evolving at the moment is something like: 1) Take notes (pencil & paper) on what I'm trying to get the instrument to do 2) Imagine some possible ways to do that (this is the creative part). For me, at this stage I am not thinking about opcodes at all; I'm thinking conceptually about how this sound or effect might be done (either in analog, which I understand reasonably well, or mathematically, which I don't understand well at all, or just in some vague conceptual notion of what the sound is "doing"). 3) Pick a method that looks promising; break it down into more specific steps. 4) Browse around the csound manual looking for opcodes to handle key steps of this instr. Familiarity helps a lot here. 5) Write a new .orc file. instr 1 is your first attempt at the instrument. Leave out all the fancy features: just try to get something really basic that works and demonstrates the essential core concept of the instrument. Edit instr 1 until it does something. At this point you may find the basic idea is a total dud. If so,write a comment to that effect, abandon instr 1, and start instr 2 based on an alternative method from your notes. Keep trying until you have an instrument that does something promising. Write a comment in the instrument saying that it basically works. 6) DON'T add features to, or modify, the basic working instrument. Instead, copy it to a new instrument, re-number it, add the feature, and test the new instrument. This way you always have a record of something that worked. This is important when you change something that screws everything up... but you're not sure how many changes you made or how you screwed it up. 7) Repeat above steps as necessary. Don't worry if you end up with a huge orc that contains 5 totally silent instruments, 10 that make horrible noises nothing like you want, 10 that sound very uninteresting, 10 that lack nice features you want, and only one that does the job properly. You can always skip right to the end of the file and copy the good instrument into a separate orc for your composition (where you should put a comment about what file you copied the instr. from, and what number it was in that file... in case you change stuff later...) My instrument is almost doing what I want now. :) ---------------- paul winkler ------------------ slinkP arts: music, sound, illustration, design, etc. zarmzarm@hotmail.com --or-- slinkp AT ulster DOT net http://www.ulster.net/~abigoo/ =========================== Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa24772; 8 Oct 99 8:04 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZT6s-0001ak-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 07:02:30 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (IAA49815); Fri, 8 Oct 1999 08:02:03 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 08:01:52 +0100 Received: from smtp.mail.yahoo.com [128.11.68.32] by hermes via SMTP (IAA49823); Fri, 8 Oct 1999 08:01:51 +0100 (BST) X-Apparently-From: dmboothe@yahoo.com Received: from unknown (HELO dboothe) (38.227.100.80) by smtp.mail.yahoo.com with SMTP; 8 Oct 1999 00:07:48 -0700 Message-ID: <001501bf115b$00d46980$7c98e226@dboothe.lyrick.com> From: David Boothe To: Stan Olejarz , csound@maths.ex.ac.uk MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos Subject: Re: designing an instrument Date: Fri, 8 Oct 1999 02:01:53 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 4.72.3110.5 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk I go from general to specific. First, I hear it in my mind's ear, then mentally "deconstruct" it to determine what type of synthesis/opcode could produce such a sound. This often involves getting a general idea for control signals, filters, etc., as well the basic opcode(s). (This is an acquired skill. Twenty-eight years as a recording engineer helps a lot.) Only when I have a clear idea of what sound I want and generally what to do to get it, do I start coding. When coding I start with the basic sound generator(s), adding modifiers and control signals, so that the instrument and sound tends to grow from the inside out, still trying to keep focused on my original concept. Although I've made it sound so logical and holistic, there is still no small amount of trial and error involved, and sometimes surprises. But, adopting this approach, and using Csound as the machinery, I can maintain a certain self-discipline and avoid wasting hours in aimless knob twirling - a bad habit I developed back in modular analog days. -David. Stan wrote: >Just curious as to what creative procedure is best used to create an >instrument? Would one (a)- create the timbre of the instrument first, __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa24839; 8 Oct 99 8:50 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZTpC-0001bh-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 07:48:18 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (IAA53325); Fri, 8 Oct 1999 08:47:39 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 08:47:27 +0100 Received: from mc-qout4.whowhere.com [209.185.123.18] by hermes via SMTP (IAA52062); Fri, 8 Oct 1999 08:47:26 +0100 (BST) Received: from Unknown/Local ([?.?.?.?]) by shared2-mail.whowhere.com; Fri Oct 8 00:46:53 1999 To: csound Date: Fri, 08 Oct 1999 16:46:53 +0900 From: merz foobar Message-ID: Mime-Version: 1.0 X-Sent-Mail: on X-Mailer: MailCity Service Subject: Score11 X-Sender-Ip: 210.181.152.5 Organization: imaginemail (http://www.imaginemail.com:80) Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Hi everyone. I Haven't used Csound in a while and am wondering what folks are using to make scores on the Macintosh. When i used to run Csound on my NeXT i used cshell scripts and a handy little thing called Score11 by A. Brinkman. It is a little score pre-processor that is especially good for quick and dirty stuff. I believe that it is in pascal. I wonder if anyone has ported the Score11 app to the Mac. Or if anyone knows If Brinkman has let the code out. Anyway, i have some old Score11 scripts that i would like to re-compile, and i am wondering if anyone has Score11 up and going. Meanwhile, what are others using? It is sort-of a pain to write C code to make scores. Mac Perl still stinks and i am not to hot to learn it anyway. Buying MAX or Excell is a bit out of the question for now. Heck, if i had that kind of money i would just buy SuperCollider. cheers, -kp Seoul, Korea kevin@raven.dartmouth.edu Free, fast e-mail accessible anytime, anywhere http://www.imaginemail.com Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa25029; 8 Oct 99 10:36 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZWSM-00047j-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 10:36:54 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (KAA73800); Fri, 8 Oct 1999 10:33:59 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 10:33:48 +0100 Received: from agora.stm.it [195.62.32.1] by hermes via ESMTP (KAA73645); Fri, 8 Oct 1999 10:33:46 +0100 (BST) Received: from agora.stm.it (rm2-844.tiscalinet.it [212.123.85.82]) by agora.stm.it (8.9.2/8.8.5) with ESMTP id LAA03690 for ; Fri, 8 Oct 1999 11:33:41 +0200 (ITADST) Message-ID: <37FDAC3A.F6C243BE@agora.stm.it> Date: Fri, 08 Oct 1999 10:32:58 +0200 From: Gabriel Maldonado X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en MIME-Version: 1.0 To: Csound Mailing List Subject: Csound Beta Tester Team Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Dear Csound Community, I propose to divide the huge work of testing ALL Csound, opcodes, providing a simple, short and essential example for each one (DirectCsound now gives a count of 727(!!!) opcodes including original Perry Cook ToolKit, DS3d and EAX opcodes). This will hugely help the developers to mantain the various versions, by batch testing all opcodes (some old opcodes could be broken in newer versions). Those examples can also be included in the manual. Unfortunately testing an opcode, can sometime require more time than implement a new one. So I'm searching many willing csounders in order to organize a division of this hard work. Any candidate can be included in the Team. We can divide the opcodes in family groups or proceed alphabetically. Any idea? P.S. I remember that an alphabetical list of all opcodes implemented in a Csound version can be obtained by running Csound with the following command line: csound --opcodes.txt -z1 where the file "opcodes.txt" is the target text file containing the list. BtW: How many people is included in this list? Thanks in advance -- Gabriel Maldonado http://web.tiscalinet.it/G-Maldonado

Date	1999-10-08 13:27
From	Thomas Neuhaus
Subject	Re: I.E v Bath Uni (was:Re: mod anyone ?)
	On Thu, 7 Oct 1999, Richard Dobson wrote: > > So, despite their best efforts, the powers that be have not managed to > lock out Microsoft entirely. Should we be worried? > Yes! Very much so Thomas N. Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26008; 8 Oct 99 16:06 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zad3-0001x8-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 15:04:13 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (PAA152022); Fri, 8 Oct 1999 15:57:26 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 15:57:14 +0100 Received: from agora.stm.it [195.62.32.1] by hermes via ESMTP (PAA155992); Fri, 8 Oct 1999 15:57:11 +0100 (BST) Received: from agora.stm.it (rm1-210.tiscalinet.it [212.123.78.84]) by agora.stm.it (8.9.2/8.8.5) with ESMTP id QAA10548 for ; Fri, 8 Oct 1999 16:56:26 +0200 (ITADST) Message-ID: <37FDECCD.4036997D@agora.stm.it> Date: Fri, 08 Oct 1999 15:08:29 +0200 From: Gabriel Maldonado X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en MIME-Version: 1.0 To: Csound Mailing List Subject: extension for realtime oriented orchestras Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Hi all, DirectCsound (ver 3.01 not already released) supports realtime oriented orchestras, without any needs of score. What file extension do you think to use as standard. Unified orc/sco uses ".csd" . I think ".rt" for realtime orchestras could be good, as well as ".rto" (rt orchestra). Any suggestion? -- Gabriel Maldonado http://web.tiscalinet.it/G-Maldonado Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26070; 8 Oct 99 16:22 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZbqZ-0004Hq-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 16:22:15 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (QAA119232); Fri, 8 Oct 1999 16:16:09 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 16:16:00 +0100 Received: from root@lix.intercom.es [194.179.21.2] by hermes via ESMTP (QAA116188); Fri, 8 Oct 1999 16:15:58 +0100 (BST) Received: from intercom.es (iv1-184.intercom.es [212.66.168.184]) by lix.intercom.es (8.7.3/8.6.12) with ESMTP id RAA04167; Fri, 8 Oct 1999 17:17:11 +0100 Message-ID: <37FDD2C2.17AC3271@intercom.es> Date: Fri, 08 Oct 1999 13:17:22 +0200 From: Josep M Comajuncosas X-Mailer: Mozilla 4.5 [es] (Win95; I) X-Accept-Language: es MIME-Version: 1.0 To: Sean Costello CC: csound Subject: Re: Gong Orc and Sco References: <37FB8D2D.E214119@seanet.com> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by exeter.ac.uk id QAA116188 Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Wow congratulations! The gong sounds pretty cool and allows a nice variet= y of textures. I see the orchestra more as a phenomenological model of the ins= trument than as a true physical model of it. But you could try to better approxim= ate the instrument behaviour, for example using a much more complex waveguide mes= h to model the plate morphology, and applying more PNF=B4s in parallell at different= points of the mesh, as suggested in Duyne=B4s. Processing time doesn=B4t matter ;-) but it could be a pain to code ... Please keep on posting all this magnific stuff! Josep M Sean Costello escribi=F3: > Hi all: > > I have been experimenting with the passive nonlinear filters described = by Scott > Van Duyne in various publications. To test these out, I converted one o= f my > reverb orchestras into a gong. -- Josep M Comajuncosas C/ Circumval.lacio 75 08790 Gelida - Penedes Catalunya - SPAIN tel. 93 7792243 e-mail: gelida@intercom.es ET Informatica de Sistemes e-mail: jcomajuncosas@campus.uoc.es http://members.tripod.com/csound/ Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26150; 8 Oct 99 16:55 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZbP7-000211-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 15:53:53 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (QAA160469); Fri, 8 Oct 1999 16:49:01 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 16:48:50 +0100 Received: from f52.law3.hotmail.com [209.185.241.52] by hermes via SMTP (QAA170206); Fri, 8 Oct 1999 16:48:49 +0100 (BST) Received: (qmail 2115 invoked by uid 0); 8 Oct 1999 15:48:21 -0000 Message-ID: <19991008154821.2114.qmail@hotmail.com> Received: from 193.204.162.211 by www.hotmail.com with HTTP; Fri, 08 Oct 1999 08:48:21 PDT X-Originating-IP: [193.204.162.211] From: flavio adorno To: csound@maths.ex.ac.uk Subject: Csound AddIn 1.0 for Microsoft Word Date: Fri, 08 Oct 1999 15:48:21 GMT Mime-Version: 1.0 Content-Type: text/plain; format=flowed Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Csound AddIn 1.0 for Microsoft Word [Windows 9X] Csound AddIn turns Ms Word into a shell program for Csound. You can create buttons for Csound parameters and utilities. Download at: http://www.geocities.com/SiliconValley/Drive/8552/index.htm ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26214; 8 Oct 99 17:34 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZcyP-0004K5-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 17:34:25 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (RAA177458); Fri, 8 Oct 1999 17:25:59 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 17:25:48 +0100 Received: from emerald.oz.net [216.39.128.2] by hermes via ESMTP (RAA176889); Fri, 8 Oct 1999 17:25:47 +0100 (BST) Received: from madgello2 (sense-sea-56k-4-39.oz.net [216.39.131.231]) by emerald.oz.net (8.9.3/8.7.3) with SMTP id JAA20678 for ; Fri, 8 Oct 1999 09:21:03 -0700 (PDT) Reply-To: madgello@oz.net MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos From: Rich Weisgerber To: Csound List Subject: RE: Csound Beta Tester Team Date: Fri, 8 Oct 1999 09:29:11 -0700 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook IMO, Build 9.0.2416 (9.0.2910.0) X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 In-Reply-To: <37FDAC3A.F6C243BE@agora.stm.it> Importance: Normal Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk I'd love to help out with this. That's what I enjoy doing the most. It would help me learn csound much quicker. A suggestion. This needs to include backwards compatibility issues, yes? So new Csound does not break old Orc/Sco, correct. Use tried and true 'archive' compositions as part of the testing process. They're quite wonderful and refreshing to hear again. A question. This came up before on the list. Someone mentioned, "How do you validate the results if binary compare is not an option?" I ask, how would you know if something is only slightly broken, as in some math somewhere is just 'a little bit off'? Another suggestion that would help users immensely. All opcodes (funtions, the whole bit) could each have useable and useful example Orc/Sco's in the doc. Before the flames start, this would be in the context of just enough to get the idea across for users. Where this would come in real handy for this "Csound QA Testing Team", white box method of test where the opcode/function developer knows the range and extent of what the code should do would write test code that also demonstrates (and attempts to go beyond) the 'bounds' of said code. What I see happening if it gets off the ground is two things, both beneficial to the Csound community. We as users/testers would have a bank of known good code to work from that would allow the test team to put together the test scripts with less hassle AND the users some know good code to get a better handle quicker what all this stuff is for and about. Details on request. My day job is software/hardware test. The main reason I have so little time in on Csound. A warning. Opening the door to Csound QA ... There's no turning back. It's a life-long commitment, but long overdue here... Thanks Gabriel, for the suggestion.... -----Original Message----- From: owner-csound-outgoing@maths.ex.ac.uk [mailto:owner-csound-outgoing@maths.ex.ac.uk]On Behalf Of Gabriel Maldonado Sent: Friday, October 08, 1999 1:33 AM To: Csound Mailing List Subject: Csound Beta Tester Team Dear Csound Community, I propose to divide the huge work of testing ALL Csound, opcodes, providing a simple, short and essential example for each one (DirectCsound now gives a count of 727(!!!) opcodes including original Perry Cook ToolKit, DS3d and EAX opcodes). This will hugely help the developers to mantain the various versions, by batch testing all opcodes (some old opcodes could be broken in newer versions). Those examples can also be included in the manual. Unfortunately testing an opcode, can sometime require more time than implement a new one. So I'm searching many willing csounders in order to organize a division of this hard work. Any candidate can be included in the Team. We can divide the opcodes in family groups or proceed alphabetically. Any idea? P.S. I remember that an alphabetical list of all opcodes implemented in a Csound version can be obtained by running Csound with the following command line: csound --opcodes.txt -z1 where the file "opcodes.txt" is the target text file containing the list. BtW: How many people is included in this list? Thanks in advance -- Gabriel Maldonado http://web.tiscalinet.it/G-Maldonado Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26286; 8 Oct 99 18:11 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZcZo-00023G-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 17:09:00 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (SAA164023); Fri, 8 Oct 1999 18:06:44 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 18:06:32 +0100 Received: from dns2.seanet.com [199.181.164.2] by hermes via ESMTP (SAA177270); Fri, 8 Oct 1999 18:06:31 +0100 (BST) Received: from seanet.com (cy36.dialup.seanet.com [207.12.136.36]) by mx.seanet.com (8.9.3/Seanet-8.7.3) with ESMTP id KAA00417; Fri, 8 Oct 1999 10:06:26 -0700 (PDT) Message-ID: <37FE2629.961EB8E3@seanet.com> Date: Fri, 08 Oct 1999 10:13:13 -0700 From: Sean Costello X-Mailer: Mozilla 4.05 [en] (Win95; I) MIME-Version: 1.0 To: Josep M Comajuncosas CC: csound Subject: Re: Gong Orc and Sco References: <37FB8D2D.E214119@seanet.com> <37FDD2C2.17AC3271@intercom.es> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by exeter.ac.uk id SAA177270 Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Josep M Comajuncosas wrote: >=20 > Wow congratulations! The gong sounds pretty cool and allows a nice vari= ety of > textures. I see the orchestra more as a phenomenological model of the i= nstrument > than as a true physical model of it. But you could try to better approx= imate the > instrument behaviour, for example using a much more complex waveguide m= esh to model > the plate morphology, and applying more PNF=B4s in parallell at differe= nt points of > the mesh, as suggested in Duyne=B4s. Thanks! I based the goto statements of my PNF on your Karplus-Strong orch= estra with the PNF. I have recently worked on a gong with 8 delay lines joined = by a "scattering" junction, similar to the JOS physical modelling (but in a fe= edback delay network format, as opposed to bidirectional waveguides). It sounds = pretty good, but the original gong based on the Puckette/Stautner reverb sounds = a bit better to my ears. The feedback matrix makes a HUGE difference - when I c= hanged the feedback matrix in the Puckette/Stautner reverb to a feedback matrix = based on a scattering junction with equal impedences, it sounded HORRIBLE. Too = much beating of modes with the scattering junction feedback matrix. Of course,= I need to do some tweaking of the PNFs with the new gong sounds, to find the "sw= eet spots." I have also incorporated some subtle modulation of the delay leng= ths with sub-audio random functions, and this seems to smooth out much of the beating between modes. I plan on working on the 2-D waveguide meshes suggested by Scott Van Duyn= e in the next week or so. Unfortunately, most of the shortcuts that he uses to= gain speed (i.e. binary shifting instead of division) won't be achievable in a= Csound orchestra. Still, I do plan on writing an orchestra that implements a wav= eguide mesh. I might have to write a small program in C that writes the bulk of = the orchestra, as the number of repeated statements should be huge... Sean Costello Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26617; 8 Oct 99 21:30 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zgf5-0004Mn-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 21:30:43 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (VAA182802); Fri, 8 Oct 1999 21:26:52 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Fri, 8 Oct 1999 21:26:40 +0100 Received: from cpimssmtpu01.email.msn.com [207.46.181.26] by hermes via ESMTP (VAA196306); Fri, 8 Oct 1999 21:26:39 +0100 (BST) Received: from ezhuuvqo - 63.15.171.58 by email.msn.com with Microsoft SMTPSVC; Fri, 8 Oct 1999 13:26:11 -0700 Message-ID: <001b01bf11de$160fa840$3aab0f3f@ezhuuvqo> From: Liduino Oliveira To: csound@maths.ex.ac.uk MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos Subject: Bell Risset Date: Fri, 8 Oct 1999 15:40:11 -0700 Organization: Microsoft Corporation X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 5.00.2314.1300 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2314.1300 Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Why if I try to realize the Bell instrument (found in Dodge, Computer Music, 2nd Edition, pag 105) my wavetable must have a size of 8193 and my envelope must be oscil1? Liduino Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26904; 9 Oct 99 0:03 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zi4w-000294-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 23:01:30 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (AAA183482); Sat, 9 Oct 1999 00:00:51 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 00:00:40 +0100 Received: from titan.mad.servicom.es [194.106.0.133] by hermes via ESMTP (AAA201551); Sat, 9 Oct 1999 00:00:39 +0100 (BST) Received: from [62.82.236.156] by titan.mad.servicom.es (Post.Office MTA v3.1.2 release (PO203-101c) ID# 158-43936U25000L25000S0) with ESMTP id AAD407 for ; Sat, 9 Oct 1999 01:00:47 +0200 X-Mailer: Microsoft Outlook Express Macintosh Edition - 4.5 (0410) Date: Sat, 09 Oct 1999 00:00:30 +0100 Subject: FW: orc+sco searching From: Javier Ruiz To: Csound@maths.ex.ac.uk Mime-version: 1.0 X-Priority: 3 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Message-ID: <19991008225745.AAD407@[62.82.236.156]> Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Dr. Boulanger=B4s address does not seem to work for me. I think it is okay to send this to the list ---------- From: "Javier Ruiz" To: Richard Boulanger Subject: orc+sco searching Date: vier., 8 octu 1999 18:39 Dr. Boulanger, Regarding your orc+sco searching, the files kim1.orc and kim1.sco (included in the file various.sit) may have been composed by Kim Cascone. By the way, a .wav file got caught in the file also. It is not needed for the examples. Hope it helps. -- Javier Ruiz, composer CANARY ISLANDS-SPAIN phone: 34 922 54 29 31 e-mail: javi.ruiz@tfn.servicom.es P.S. I am looking forward to put my hands on the book and the CDs you are editing! Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26926; 9 Oct 99 0:18 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZjHU-0004OE-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 00:18:32 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (AAA203533); Sat, 9 Oct 1999 00:16:22 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 00:16:10 +0100 Received: from titan.mad.servicom.es [194.106.0.133] by hermes via ESMTP (AAA190214); Sat, 9 Oct 1999 00:16:09 +0100 (BST) Received: from [62.82.236.156] by titan.mad.servicom.es (Post.Office MTA v3.1.2 release (PO203-101c) ID# 158-43936U25000L25000S0) with ESMTP id AAA1877 for ; Sat, 9 Oct 1999 01:16:17 +0200 X-Mailer: Microsoft Outlook Express Macintosh Edition - 4.5 (0410) Date: Sat, 09 Oct 1999 00:15:55 +0100 Subject: FW: orc+sco searching From: Javier Ruiz To: csound@maths.ex.ac.uk Mime-version: 1.0 X-Priority: 3 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Message-ID: <19991008231615.AAA1877@[62.82.236.156]> Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk The Dr. Boulanger e-mail address does not seem to work. I am sending this to the list. ---------- From: "Javier Ruiz" To: Richard Boulanger Subject: orc+sco searching Date: vier., 8 octu 1999 18:39 Dr. Boulanger, Regarding your orc+sco searching, the files kim1.orc and kim1.sco (included in the file various.sit) may have been composed by Kim Cascone. By the way, a .wav file got caught in the file also. It is not needed for the examples. Hope it helps. -- Javier Ruiz, composer CANARY ISLANDS-SPAIN phone: 34 922 54 29 31 e-mail: javi.ruiz@tfn.servicom.es P.S. I am looking forward to put my hands on the book and the CDs you are editing! Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa26977; 9 Oct 99 0:55 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZitB-0002A9-00 for jpff@maths.bath.ac.uk; Fri, 8 Oct 1999 23:53:25 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (AAA203016); Sat, 9 Oct 1999 00:52:57 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 00:52:43 +0100 Received: from front5m.grolier.fr [195.36.216.55] by hermes via ESMTP (AAA201931); Sat, 9 Oct 1999 00:52:41 +0100 (BST) Received: from club-internet.fr (telehouse-229-32.club-internet.fr [195.36.229.32]) by front5m.grolier.fr (8.9.3/No_Relay+No_Spam_MGC990224) with ESMTP id BAA26404 for ; Sat, 9 Oct 1999 01:52:43 +0200 (MET DST) Message-ID: <37FE9307.944442D9@club-internet.fr> Date: Sat, 09 Oct 1999 01:57:44 +0100 From: "K.H" Reply-To: karmha@club-internet.fr X-Mailer: Mozilla 4.6 (Macintosh; I; PPC) X-Accept-Language: en MIME-Version: 1.0 To: "csound@maths.ex.ac.uk" Subject: re:Bell Risset Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Hello You can find the orc & sco of this instrument in amsterdam catalogue. I think also (i don't remember exactly) that you must generate a bell like env with another orchestra which is included in the above mentionned catalogue. (by the way you can find many other examples of the dodge book in that catalogue) Cheers karim Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa27600; 9 Oct 99 7:49 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZpLx-0002JJ-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 06:47:33 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (HAA211563); Sat, 9 Oct 1999 07:46:46 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 07:46:35 +0100 Received: from out4.prserv.net [165.87.194.239] by hermes via ESMTP (HAA110820); Sat, 9 Oct 1999 07:46:34 +0100 (BST) Received: from ibm.net (slip166-72-151-228.nd.us.prserv.net [166.72.151.228]) by out4.prserv.net (/) with ESMTP id GAA66760 for ; Sat, 9 Oct 1999 06:46:34 GMT Message-ID: <37FEE571.70E4149A@ibm.net> Date: Sat, 09 Oct 1999 01:49:21 -0500 From: Sheldon X-Mailer: Mozilla 4.04 [en] (Win95; I) MIME-Version: 1.0 To: "csound@maths.ex.ac.uk" Subject: back to 3D sound - holophonic Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk all the talk of 3D sound made me remember something I read about a long time ago - holophonic sound. has anyone else heard of this? apparently an Argentinian physiologist named Hugo Zuccarelli came up with a way to record holograms of sound. he achieved a three dimensional sound that maintained its spaciousness regardless of positions of speakers, number of speakers, or position of listener relative to the speaker(s). when I first read about it seven or eight years ago he was refusing to release his secrets. i guess peter gabriel and paul mccartney tried unsuccessfully to buy the technology from him. has anyone heard anything since then? it would seem to be the holy grail of 3D sound. sheldon Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa27618; 9 Oct 99 8:07 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zqaw-0004Ws-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 08:07:06 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (IAA215394); Sat, 9 Oct 1999 08:03:35 +0100 (BST) From: integer@www.god-emil.dk Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 08:03:25 +0100 Received: from saba.wwa.com [198.49.174.36] by hermes via ESMTP (IAA98018); Sat, 9 Oct 1999 08:03:24 +0100 (BST) Received: from [157.238.71.118] (157-238-71-118.il.verio.net [157.238.71.118]) by saba.wwa.com (8.9.0/8.9.0) with SMTP id CAA23080; Sat, 9 Oct 1999 02:03:10 -0500 (CDT) Message-Id: <199910090703.CAA23080@saba.wwa.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Date: Sat, 9 Oct 1999 02:10:17 -0600 To: csound@maths.ex.ac.uk Subject: Re: back to 3D sound - holophonic [ot] Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk > >all the talk of 3D sound 3D sound !=3D ecz!zt >made me remember something apropoz ur rekall. 1 memor! rekall =3D 1 art!f!z!al konztrukz!on due 2 !t !=3D ankord b! kurnt senzor! !nput. rekalz =3D d!nam!kl! kreatd + ku!te oftnl! d!f on zukzez!v okaz!onz + =3D potenz!al! ta!ntd b! !njekz!onz 4rom !mag!naz!on. ztud!ez ov critical e! u!tnesez 2 ztaged m!zhapz =3D zugezt evn dzoze critical !e u!tnesez who =3D !n!z!al! rekald dze eventz korektl! =3D aftr feu weekz get dzm zkrambld + !=3D real!sz !t >I read aftr all du !=3D z dze j!ter! v!zual f!eld dzat ur critical e! movemntz zugezt du =3D l!kl! 2 b zee!ng radzr du =3D z 1 ultra luvl! + ztable kap!tal!zt!k modl ov dze velt - l!kl! u!th du !n dze zntr. >about a long apparently >time ago - holophonic sound. has anyone else heard of this? netochka nezvanova +? >apparently dze mak!ntosh dezktop metafor =3D haz perm!td 1 2 th!nk !n dze fam!+l!ar relm ov foldrz. dokumntz. + trash kanz !f analog!ez map u!th zuf!z!ent po!ntz ov korezpondensz 1 =3D kan r!zn >an Argentinian physiologist named Hugo Zuccarelli came up with a way to >record holograms of sound. he achieved a three dimensional sound that >maintained its spaciousness regardless of positions of speakers, number >of speakers, or position of listener relative to the speaker(s). when I >first read about it seven or eight years ago he was refusing to release >his secrets. i guess peter gabriel and paul mccartney tried >unsuccessfully to buy the technology from him. has anyone heard >anything since then? it would seem to be the holy grail of 3D sound. > >sheldon zuccarelli - inventor of holophonics - argentinian - came up with whole system using dummy head filled with fluids and all sorts of other things called "ringo" (I have no idea either....) - back in the days when a digital audio rig meant a Sony F1 recorder ...................left england in semi-disgrace when Studio Sound got a hold of his patent application which revealed his system to be basically digital binaural.... h3o - m9ndfukc.macht.fre!. du b!zt ez. [n-at_o.ma_ch-t.fr_e!] =D8 f =D8 =D8 =D8 3 http://www.m9ndfukc.com Received: from shaun.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa27634; 9 Oct 99 8:13 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by shaun.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11ZqhU-0004Wu-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 08:13:52 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (IAA213964); Sat, 9 Oct 1999 08:11:36 +0100 (BST) From: integer@www.god-emil.dk Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 08:11:25 +0100 Received: from saba.wwa.com [198.49.174.36] by hermes via ESMTP (IAA217428); Sat, 9 Oct 1999 08:11:23 +0100 (BST) Received: from [157.238.71.118] (157-238-71-118.il.verio.net [157.238.71.118]) by saba.wwa.com (8.9.0/8.9.0) with SMTP id CAA24133 for ; Sat, 9 Oct 1999 02:11:22 -0500 (CDT) Message-Id: <199910090711.CAA24133@saba.wwa.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Date: Sat, 9 Oct 1999 02:18:17 -0600 To: csound@maths.ex.ac.uk Subject: [ot] \/\ nato.0+55+3d.v3kt0r.r2!n Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk -- nato.0+55+3d - 150 addtl kommandz : 300+.- total nato.0+55 - 150 addtl kommandz : 230+.- total dynamic masks and mattes construction - animated transitions. 2 types of video capture + related functions. -v2 does not require a digitizer. video filters. qtvr node routines. rtsp url support. addtl quickdraw.pixel info data ops facilitating construction of image filters in max. color replacement.deformations.film or live video to midi-etcetera. track utility operations. programmatic film playlists. addtl import + automatik data placement + display management routines. live video mapping on 3d data. live video mirroring + ultra.tekkno pixelation. kode : http://www.m9ndfukc.org/korporat/nato.0+55+3d.html plzt!k : http://m9ndfukc.com/nato.0+55 _- plzt!k zo=86t v3kt0r r2!n \|=7F\| \|=7F\|9\|=7F\| [p-un_kT-pr_o-T=96k_oL] =D8 f =D8 =D8 =D8 3 \|=7F\| herausgegeben v=F8m !nternat!onalen !nst!tut f:ur ordnung \|+\| d!sz!pl!n : / / m9ndfukc.com e \| \| +---------- \| \| \\----------------+ \| \| e Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa27657; 9 Oct 99 8:41 BST Received: from [156.3.140.104] (helo=shoko.calarts.edu) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zq9a-0002Je-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 07:38:51 +0100 Received: (from majordom@localhost) by shoko.calarts.edu (8.9.3/8.9.3) id AAA25040 for music-dsp-outgoing; Sat, 9 Oct 1999 00:04:40 -0700 (PDT) X-Authentication-Warning: shoko.calarts.edu: majordom set sender to owner-music-dsp@shoko.calarts.edu using -f Received: from saba.wwa.com (saba.wwa.com [198.49.174.36]) by shoko.calarts.edu (8.9.3/8.9.3) with ESMTP id AAA25032; Sat, 9 Oct 1999 00:04:37 -0700 (PDT) From: integer@www.god-emil.dk Received: from [157.238.71.118] (157-238-71-118.il.verio.net [157.238.71.118]) by saba.wwa.com (8.9.0/8.9.0) with SMTP id CAA23080; Sat, 9 Oct 1999 02:03:10 -0500 (CDT) Message-Id: <199910090703.CAA23080@saba.wwa.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Date: Sat, 9 Oct 1999 02:10:17 -0600 To: csound@maths.ex.ac.uk Subject: Re: back to 3D sound - holophonic [ot] Content-Transfer-Encoding: 8bit X-MIME-Autoconverted: from quoted-printable to 8bit by shoko.calarts.edu id AAB25034 Sender: owner-music-dsp@shoko.calarts.edu Precedence: bulk Reply-To: music-dsp@shoko.calarts.edu > >all the talk of 3D sound 3D sound != ecz!zt >made me remember something apropoz ur rekall. 1 memor! rekall = 1 art!f!z!al konztrukz!on due 2 !t != ankord b! kurnt senzor! !nput. rekalz = d!nam!kl! kreatd + ku!te oftnl! d!f on zukzez!v okaz!onz + = potenz!al! ta!ntd b! !njekz!onz 4rom !mag!naz!on. ztud!ez ov critical e! u!tnesez 2 ztaged m!zhapz = zugezt evn dzoze critical !e u!tnesez who = !n!z!al! rekald dze eventz korektl! = aftr feu weekz get dzm zkrambld + != real!sz !t >I read aftr all du != z dze j!ter! v!zual f!eld dzat ur critical e! movemntz zugezt du = l!kl! 2 b zee!ng radzr du = z 1 ultra luvl! + ztable kap!tal!zt!k modl ov dze velt - l!kl! u!th du !n dze zntr. >about a long apparently >time ago - holophonic sound. has anyone else heard of this? netochka nezvanova +? >apparently dze mak!ntosh dezktop metafor = haz perm!td 1 2 th!nk !n dze fam!+l!ar relm ov foldrz. dokumntz. + trash kanz !f analog!ez map u!th zuf!z!ent po!ntz ov korezpondensz 1 = kan r!zn >an Argentinian physiologist named Hugo Zuccarelli came up with a way to >record holograms of sound. he achieved a three dimensional sound that >maintained its spaciousness regardless of positions of speakers, number >of speakers, or position of listener relative to the speaker(s). when I >first read about it seven or eight years ago he was refusing to release >his secrets. i guess peter gabriel and paul mccartney tried >unsuccessfully to buy the technology from him. has anyone heard >anything since then? it would seem to be the holy grail of 3D sound. > >sheldon zuccarelli - inventor of holophonics - argentinian - came up with whole system using dummy head filled with fluids and all sorts of other things called "ringo" (I have no idea either....) - back in the days when a digital audio rig meant a Sony F1 recorder ...................left england in semi-disgrace when Studio Sound got a hold of his patent application which revealed his system to be basically digital binaural.... h3o - m9ndfukc.macht.fre!. du b!zt ez. [n-at_o.ma_ch-t.fr_e!] f 3 http://www.m9ndfukc.com dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://shoko.calarts.edu/musicdsp/ Received: from wallace.maths.bath.ac.uk by omphalos.maths.Bath.AC.UK id aa27730; 9 Oct 99 9:43 BST Received: from [144.173.6.14] (helo=exeter.ac.uk) by wallace.maths.bath.ac.uk with esmtp (Exim 2.12 #1) id 11Zr8J-0002Js-00 for jpff@maths.bath.ac.uk; Sat, 9 Oct 1999 08:41:35 +0100 Received: from noether [144.173.8.10] by hermes via SMTP (JAA212753); Sat, 9 Oct 1999 09:41:09 +0100 (BST) Received: from exeter.ac.uk by maths.ex.ac.uk; Sat, 9 Oct 1999 09:40:57 +0100 Received: from agora.stm.it [195.62.32.1] by hermes via ESMTP (JAA220320); Sat, 9 Oct 1999 09:40:56 +0100 (BST) Received: from agora.stm.it ([212.123.95.238]) by agora.stm.it (8.9.2/8.8.5) with ESMTP id KAA02152 for ; Sat, 9 Oct 1999 10:40:53 +0200 (ITADST) Message-ID: <37FF01B2.8F614C35@agora.stm.it> Date: Sat, 09 Oct 1999 10:49:54 +0200 From: Gabriel Maldonado X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en MIME-Version: 1.0 To: Csound Mailing List Subject: I want you! [Csound Beta Tester Team] References: <37FDAC3A.F6C243BE@agora.stm.it> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sender: owner-csound-outgoing@maths.ex.ac.uk Precedence: bulk Dear fellows, at present time the brave persons who answered to my appeal are: Michael Gogins, Rich Weisgerber, Krzysztof Foltman, Richard Bowers, Grant Covell (?)... I think it is reasonable to wait the Team has grown at least up to 20 people before proceed with casting, but, I remember, the more amount of people agrees with the proposal, the less would be the hard work for each individual person. Thanks to the guys which got on aboard so far. Gab